INTERNATIONAL FORUM 2024
PROGRAM

OPENING 10.00- Erato Alakiozidou 

LECTURE 10.15- Κonstantina Polychronopoulou  GREECE

​Music and Body: Exploring the relationship between music and body through the
kinetic lens.

Κonstantina Polychronopoulou;s artistic journey is characterized by flexibility, skill and a deep understanding of the interdisciplinary nature of the arts, particularly the connection between dance and music. She is a PhD candidate at Anton Private Bruckner University in Austria, in “Visible Music: between dance, choreography and composition. Εxploring
meaningful bonds between the composer and the choreographer.” In 2022, she published her innovative book Music and Body from Nasos Publications. Her compositions for choreographies and dance videos by acclaimed choreographers have been presented at international festivals and performed by renowned ensembles such as the Aeolos Woodwind
Quintet, the L;anima String Quartet and the Hellenic Group of Contemporary Music.

​This lecture starts from a scholarly journey that delves into the symbiotic bond between composers and choreographers, with an emphasis on movement analysis. Drawing from the framework of my doctoral research, this lecture navigates a series of thought-provoking
questions that illuminate the interplay between music and movement. From the body;s diverse perceptions of sound to the physical decoding of music, inquiries emerge: How do dancers engage with music and vice versa? What unfolds in the silence of dance? How do dancers
interpret musical symbols? Probing even further, we investigate which elements of music inspire and inform movement, experimenting kinetically with various musical techniques.
Exploring the nuances of musical communication with dancers, the lecture examines the essence of aural interpretation and physical response. This lecture will provide a journey through the symbiotic relationship between composers and choreographers, revealing the
connections that exist between music and movement. This inquiry into kinetic expression underscores the richness of the artistic dialogue between music and movement, inviting further exploration and appreciation of this relationship. It will also provide insight into the
creative processes and synergies that have shaped the art form. Finally, it will challenge us to explore our own creativity and personal expression through the interplay between music and dance. A live demonstration will be held by dancer Aliki Georgiou.

LECTURE RECITAL 10.45 Lina & Poli Digka  GREECE

"Reflections" by Duo Achos Lina Digka (flute) and Popi Digka (accordion)

Duo Achos was created through the desire of Lina and Popi Digka to highlight the similarity and sonically very interesting combination of their instruments as a duo. Inspired by the Greek word Achos - indistinct subsonic sound - the duet experiments with sounds that allow the two instruments to share the same energy and breathe together. They have taken part as a duo and as members of an improvisational ensemble in various concerts in Greece and Austria (12ton Sonoric reflections, Lange Nacht der Kirchen), they create their own works and are particularly involved in improvisation. ​

COFFEE BREAK 11.15-11.30

LECTURE-RECITAL 11.30  Alfonso Benetti PORTUGAL

​TransVariations: Music Beyond the Limits of Time and Technology

Alfonso Benetti is a pianist and assistant researcher at the University of Aveiro/INET-md (Portugal). He is a member of the committee of the IMPAR platform, associate editor and founder of ÍMPAR--
Online Journal for Artistic Research, co-PI of the Xperimus Project/Ensemble (FCT)—an artistic research group devoted to experimentation in music, PI of the TransVariations Project—Music
Beyond the Limits of Time and Technology (EEA Grants), and Ebony & Ivory Project—History of Piano in Portugal (FCT). Benetti has published articles and participated in several conferences and
performances in Portugal, Brazil, Spain, Germany, England, Greece, Norway, Austria, Singapore, and Poland.

​The Artistic Research project TransVariations address the use of innovative technological approaches to problematize the relationship between artistic creation and interpretation in the context of
Western-Art Music. Through an applied outlook, the initiative explores the possibilities of modern timbral shaping in the context of Western-Art piano repertoire using feedback and adaptive processing methods as modes of experimentation. Techniques to be used include the analysis of
sound features departing from real-time playing and the use of extracted expressive control signals to adjust electronic processing. This way, new artistic products will be created advocating a rupture
with the contemporary paradigm of representation in the European Western-Art Music. The main objective of the project is to problematize the relationship between interpretation and artistic creation in the context of Western-Art Music through the development and use of innovative
technological resources. The specific objectives are: 1) to promote the (re)creation of past artistic works and the production of new artistic outputs through the use of contemporary languages based
on experimentation with technological interfaces; 2) to provide the testing and improvement of new technologies related to artistic creation according to their applicability, pertinence and functionality
in the interaction between AI interfaces and musical creation, namely regarding expanded and feedback instruments; 3) to reshape the idea of expressivity in music through the interaction between human performative actions and instrumental feedback – as a non-controlled independent entity; and 4) to disseminate new resources, technological tools and practical related strategies for artistic interpretation and creation in music. The project involves the University of Aveiro (UA) and
the Porto Polytechnic Institute (IPP) in Portugal; and the Norges Teknisk-Naturvitenskapelige Universitet (NTNU) in Norway. In addition to theoretical-conceptual reflections and procedural descriptions, this presentation includes the exhibition of artistic outputs associated with the project.

LECTURE RECITAL 12.30 Xenia Theodoridou GREECE

 A Child Discovers the World Through the Piano: The Sensitive Perspective of Composers in Piano Collections For or About Children

Xenia Theodoridou is a Greek Pianist (BA, MA) and Musicologist (PhD)
who has won numerous awards for her musical performance and
academic research (f.ex. distinction from the Union of Greek Theatre
and Music Critics for her doctoral thesis, The Chamber Music of Yannis A.
Papaioannou until 1965 with emphasis in the works in a tonal idiom. A
historical and analytical study [In Greek], Papagrigoriou – Nakas, Athens
2022, ISBN 978-618-5313-22-7). She is dedicated to teaching and
researching music (Music School of Thessaloniki), and has applied the
results of her research through innovative pedagogical methods. Her
main area of interest is exploring and expanding means of interpretation
through hermeneutical and analytical approaches.

Kinderszenen (Children Scenes, 1838) and Album für die Jugend (Youth Album, 1848) by Schumann constitute turning points as a special kind of music composition of particular creative artistic and educational importance; it needs to be pointed out,
however, that musical works such as Handstücke für angehende Klavierspieler by Daniel Gottlob Türk preceded Schumann’s work chronologically. All these collections embody a special poetic perception of childhood; such perception is typical of Schumann and the romantic period and constitutes prototypes for the development
of this type of music. The themes that were sanctined through them reflect diachronically a child’s interests; at the same time, they represent an adult view of childhood while every collection that was composed after these encapsulates the
technical innovations and aesthetic developments of their times. The pianist and musicologist Dr. Xenia Theodoridou in a nostalgic and penetrating manner presents and analyses in a kaleidiscopic lecture-recital a representative collection of important 20th and 21st century composers; she hopes to elicit the audience’s reaction.

LECTURE 13.00 Mădălina Dorgo​ ROMANIA

​"stage fright" in the artistic world

​Instrumental musical performance/ Pedagogical and psychological issues of performance with emphasis on therapeutic & practical treatment of stage preparation, or how to not let the Stage Fright to affect our performance on the stage.
Anyone who ever experienced the debilitating effects of performance anxiety, called stage fright  in the artistic world, should start to study this phenomenon in depth. The researches confirmed and certify that stage fright negatively influences to an impressive extent not only artists, but also athletes, those in the field of public speaking, doctors, teachers and many other professional categories.
Emotions and emotionality are aspects that positively influence musical interpretation.
What would music and art in general be without emotions? Who had stage fright, only
those that start to study an instrument, or even the great artists, with hundreds of
appearances on the stage? How can I understand my emotions? How much do I let them control my artistic act? When is it too much really... too much, and how can we be on stage without stage fright? Music and art are about beauty. About the joy of being on stage and in the audience.

​Prof. Dr. Mădălina Dorgo​ is a pianist with over 20 years of teaching experience and Head of the Piano Department at "Ion Vidu" Art Highschool, Timișoara, Romania. Her experience includes more than 250 student awards at national and international piano competitions, and 150 student concerts and recitals on national and international concert stages. Amongst her numerous publications: "Emotion, emotivity and stage fright in musical interpretation". OrpheumTimisense, West University of Timișoara, ISBN 978-973-125-356-5, "The stage fright in musical interpretation". Acces Publishing House CCD Timiș, ISBN 978-606-93587-4-0.

RECITAL 13.45 Alexis Metallinos GREECE

Underwater Blue

Alexis Metallinos brings a unique blend of Greek music, together with the rich Italian and Spanish cultures at the Music Diaries. Mesmerizing guitar instrumentals evolve into complete songs with the addition of poetic Greek lyrics. From the elegance of the Italian Baroque era to the passionate rhythms of Andalusian flamenco, and from the enchanting Ionian islands to the vibrant landscapes of Thessaly, Alexis invites you on an unforgettable musical journey.

Alexis was born on 20 November 1991 and is a Greek folk singer and songwriter. His main instrument is the guitar, on which he composed most of his music. He also plays the Bass Guitar, Drums, Baglama, and Electric Guitar. His performances have graced illustrious stages including Nakas Conservatory, Lendwirbel Festival (Graz), Indie Motion Festival (Graz), Fringe Festival (Edinburgh), and Kremlino (Piraeus), and many smaller stages in the heart of Corfu Island. He is a current student of Michael Paouris and studied Jazz & Modern guitar with Yiotis Samaras from which he graduated with a diploma in Nakas Conservatory. In 2022 he studied Flamenco guitar in Taller Flamenco (Sevilla) with Michele Iaccarino. Lastly, he was a three-time scholarship recipient from the Ionian Conservatory in Acharavi in which he studied Classical guitar with Giannis Gisdakis. Alexis has captivated audiences with his EP, “Live στο αμάξι,” and a collection of four stirring singles. Among his notable achievements are awards for composing the soundtrack in the UNESCO-recognized film “Honor Crimes,” his musical contributions to this film triumphed at two film festivals, alongside six semifinalist positions and over 20 nominations. Performed in Spianada for Corfu’s best youth band securing second place, and earning recognition as “Artist of the Day” on Menta 88 radio. Last but not least Alexis represented Corfu at the Island innovation summit 2021.

LUNCH BREAK 14.30-16.00

PRESENTATION 17.00 ​Giusy Caruso ITALY /BELGIUM

​"La Ricerca Artistica Musicale. Linguaggi e Metodi." LIM, Lucca 2022.

Dr. Giusy Caruso is an artist-researcher and avant-gardist concert pianist oriented to explore the nexus between arts, science and technology. Renowned interpreter of contemporary music, she is pursuing an international career as a performer and lecturer, taking part in international conferences, festivals and Radio and TV shows. She is the chairwoman of the Research Group CREATION at Royal Conservatoire Antwerp, where she also has the role of promotor and lecturer of the music performance analysis modules - Mirroring Creative Lab –within the artistic research practice program. Her research explores new forms of human-machine interaction – such as gestural technology (like EMG and Motion Tracking) for the creation of XR performances, for the analysis of gestures and AI Musicking via Machine Learning  – together with the human-to-human entrainment in co-creative projects that combines music, dance, theatre and the active participation of spectators.  Rewarded by important institutions, Dr. Caruso received the prestigious EU award S+T+ARTS Prize Honorary Mention 2023 together with her technological partner LWT3 Srl Milano for the XR performance of a piano duet in the metaverse "MetaPhase" that impressed the jury with its remarkable artistic approach and accomplished innovative exploration. Guest post-doctoral researcher at IPEM, UGent and at Laboratoire de Musicologie, Université libre de Bruxelles, her discography has been receiving worldwide acclamation. She published articles in international journals and the first book in Italian on Artistic Research (LIM 2022). Editorial board member of the journals ITAMAR (University of Valencia) and Ex-Chordis (Conservatory of Bari), she is often requested as a peer reviewer. With the introduction of a mirroring-technology method, her PhD research (IPEM-Ugent 2018) contributed to the renovation of music performance analysis in the field of Systematic Musicology, Embodied Music Cognition and Artistic Research in Music.

​In recent years, artistic music research is emerging as an autonomous approach to musicology and traditional music theory and analysis. It is also an important moment to institutionalize the new research in academic circles and particularly in conservatories in Italy. The present volume is a valuable document of this transitional moment and undoubtedly a sharp text that analyzes from several angles the central issue of artistic research, in all times, an issue that has become even more relevant again in the last two decades. The complex and delicate subject matter is handled with wisdom and participation by Giusy Caruso, whom, after all, we know as a careful scholar and refined pianist, accustomed to dealing with themes and repertoires emerging in the culture of the present.
The volume is divided into three parts that address the following issues: the relationship between art and research; the relationship between art, science, and technology; the relationship between subjective and objective approaches to methods of inquiry; and consequently, the issue of the validity of artistic results. The first part - On Artistic Research - contains the fundamental chapters on socio-historical context, methodology, and thus languages and methods of inquiry. The second part - On artistic music research - adds to the reflection on languages and methods also that on objectives, particularly in the field of music studies. The third part - A path of artistic research on the performance of a musical composition - concerns Giusy Caruso's concrete experience of artistic research on the 72 Carnatic Studies for piano by French composer Jacques Charpentier (1933-2017). The concluding chapter-as the author herself writes-is a moment of final reflection, in which current orientations are taken up, summarized and discussed, leaving the discourse open to future perspectives.

Renzo Cresti

LECTURE 17.30 Carla Rebora & Carla Magdan ITALY

​ COLLECTIVE CREATION IN CONTEMPORARY MUSIC: IS IT POSSIBLE?

​The music composition, as a generative act no more individual but collective and inclusive, creates widen spaces of study and research both in compositive, didactic, interpretative and sociological field (McAndrew, Everett, 2015). Carla Rebora and Carla Magnan are two Italian composers who have been writing four-handed music and text for over twenty years. As a couple of women composers, we are a unicum in the history. In this study, the composers tell their personal experience of collective creation in music. Rebora and Magnan present two works they consider among the most important of their production: “L'aurea d'amore” (corto d'opera, 2009) and “Il ricordo che se ne ha” ( single opera act, 2019). The main question is: is it possible to write a fuor-handed music? How is it possible to do it technically? The composers will explain how they work together, how they have learnt to collaborate as a true team. “A group becomes a team when each member is sure enough of himself and his contribution to praise the skills of others” (Shidle)

​ Carla Magnan and Carla Rebora met at the Accademia Nazionale di Santa Cecilia (Rome) in the class of Azio Corghi, completing the studies in Composition; later they studied together at the Accademia Chigiana in Siena. Carla Magnan is graduated in piano, composition and harpsichord; Carla rebora in piano and composition. Both are winners of national and international composition contests and often signalised for artistic merit of their compositions; they had together several commissions and performances by soloists, ensembles and orchestras. Particularly significant is the relationship of reflection and writing with four hands also of the dramatic aspect of their work, of the care and analysis of the figures emerging from their works, both chamber and theatrical. Their cooperation is absolutely original and profitable, creating an extraordinary match. They wrote together lyrical works and musical theater, of which often are also authors of the text

LECTURE RECITAL 18.30 Laia Martin SPAIN

​Tibles, tenores and flabiols: Intermixing past and present soundscape in the performance of Cerdaña by Déodat de Séverac  

Catalan pianist Laia Martin has completed studies in various areas of music including a PhD in Music Performance at the Aveiro University, Portugal. She has performed at venues in Spain, Germany, Italy, France, Andorra, Portugal, Greece, and Israel. She has recorded for Naxos two CDs with Catalan works for chamber music with cellist Dmitry Yablonsky and violinist Janna Gandelman. She is a piano teacher at the Pirineus Music Conservatory and a music history teacher at the Universitat Oberta de Catalunya. She is the director of the Puigcerdà Music Festival, of the Musical Nights of Santa Cecilia in Bolvir, and of the Conference on Artistic Research in Music of the Pyrenees. 
https://www.laiamartinpiano.com/​

Travels and changes open doors to new experiences. This is what happened to Déodat de Séverac when he heard the cobla ensemble a few months after moving his residence to Céret, in the South of France. He also travelled often to the Catalan region and left a trace of it in the piano suite Cerdaña (1908-1911). In this lecture recital I will explain and share some extracts of a performative research regarding this work. On one hand, the performance seeks to imbue itself with the sounds of the cobla ensemble, according to what Séverac’s writing suggests. On the other hand, I incorporate recordings of the current soundscape in that same place. In this way, the familiar sounds to the listener of the same event, celebration or activity are intermixed with those that took place a little over a century ago. The current soundscape of Cerdaña has been part of my environment, as I was born in this region, and it has provided me with essential knowledge to achieve this performance. Therefore, besides being a comparison of the place attachment that moved the composer and his regionalist thought, I draw a line between the past and the present, giving the listener the opportunity to experience the same situation that is sonorously quite different from the beginning of the 20th Century.

CLOSING FORUM 19.30 Erato Alakiozidou